Visiting Artists & Speakers Series

Visiting Film & Video Artists & Speakers Series

  • Location: Lecture Hall 6 (unless otherwise noted)
  • Time: 7:30pm (unless otherwise noted)

All events are free and open to the public. Sponsored by Cinema Department & Harpur College Dean's Speakers Series.

                                    Spring 2022

MARCH 29 (TUE.)

Luis Macías: Your Eyes Are Spectral Machines – Live Projection Performance

In-theater presentation at Lecture Hall 6

PROGRAM: The Eyes Empty and the Pupils Burning of Rage and Desire (2 x 16mm projectors, silent, 25 min.) / The Kiss (35mm, sound, 9 min.) / Spectral Landscape (3 x 35mm slide projectors, silent, 25 min.) TRT 59 min. 

Luis Macías (Barcelona, Spain) is a film artist interested in the materiality of celluloid and the appropriation and reinvention of recycled found materials through live performance using projectors.  Macías studied at Centro de Estudios Cinematográficos de Cataluña (CECC) and graduated in Art History from Murcia University, Spain. His films and performances have been presented at various museums and film festivals, including the International Film Festival Rotterdam and Light Cone in Paris. Macías is co-founder of Crater Lab, an independent artist film lab in Barcelona. 

APRIL 5 (TUE.)

Kim Kielhofner: Video Works 2010 - 2022

Online presentation via Zoom
https://binghamton.zoom.us/j/93240000957

PROGRAM: Cahiers 1-4 (video, 9:38 min., 2010) / Rehearsal (video, 2:37 min., 2012) / Louis (Over Nebraska) (video, 6:34 min., 2015) / Anna (video, 5:17 min., 2017) / THIRD READING (video, 10:58 min., 2017) / Endgame (video, 1:30 min., 2011) / The Shepherd (video, 6:08 min., 2018) / The Coldest Day of the Year (video, 8:36 min., 2020) / Today I Did Nothing (video, 8:21 min., 2022) TRT 59:39 min. 

Kim Kielhofner works in video, drawing, and collage. She is interested in how we understand narratives - personal and historic - and how we place ourselves into them. Her process is based on interests in layered narrative, cinema, and literature through which she has developed an archive of images and ideas. Her work has been presented in solo shows at Dazibao (Montréal, CA), LUX (London, UK), VOX (Montréal, CA), Sporobole (Sherbrooke, CA) and k48 (Vienna, AT). Her work has also been shown widely in group exhibitions and screenings including Kassel Documentary Film and Video Festival, WRO Biennale, Oberhausen International Short Film Festival, and Bienal de la Imagen en Movimiento, Buenos Aires. She has been an artist in residence at KulturKontakt (Vienna, AT), Aberystwyth Arts Centre (UK), The Red Mansion Foundation (Beijing, CN), and International Studio and Curatorial Program (Brooklyn, US).

APRIL 14 (THU.) 

Ephraim Asili: The Inheritance 

Online presentation via Zoom
https://binghamton.zoom.us/j/92492847183

PROGRAM: The Inheritance (35mm, 100 min., 2021) 

After nearly a decade exploring different facets of the African diaspora – and his own place within it – Ephraim Asili makes his feature-length debut with The Inheritance, an astonishing ensemble work set almost entirely within a West Philadelphia house where a community of young, Black artists and activists form a collective. A scripted drama of characters attempting to work towards political consensus – based partly on Asili’s own experiences in a Black liberationist group – weaves with a documentary recollection of the Philadelphia liberation group MOVE, the victim of a notorious police bombing in 1985. Ceaselessly finding commonalities between politics, humor and philosophy, with Black authors and radicals at its edges, The Inheritance is a remarkable film about the world as we know it.  – Grasshopper Film

Ephraim Asili is a filmmaker, DJ, and Traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world, including the New York Film Festival; Toronto International Film Festival; Ann Arbor Film Festival; San Francisco International Film Festival; Milano Film Festival; International Film Festival Rotterdam; MoMA PS1; LAMOCA; Museum of Fine Arts, Boston; and the Whitney Museum of American Art. As a DJ, Asili can be heard on his radio program In the Cut on WGXC, or live at his monthly dance party Botanica. Asili currently resides in Hudson, NY, and is a professor in the Film and Electronic Arts Department at Bard College.


www.binghamton.edu/cinema/events/visiting-artists.html

www.facebook.com/CinemaBinghamtonU/


Contact: Melissa (Missy) Miller - Secretary
Email: mjmiller@binghamton.edu
Phone: 607-777- 4998


Past Visiting Artists/Speaker Series Events

  • Fall 2021

    Tuesday October 12, 2021

    Kevin Jerome Everson: The Island of St. Matthews and Other Films

    "... working in numerous film and video formats, Everson has presented images of the lives of African Americans—and other people of African heritage, worldwide—through his own distinctive practice of cinematic portraiture, a blend of fiction and documentary that analyzes minute aspects of individual personality by homing in on everyday gestures of labor and leisure. Whether shot from real life, rediscovered in archival images, or performed according to Everson's direction, these gestures subsist as parallels and cognates for artmaking. His films suggest not records of reality but, rather, recording of performance."   

    — Ed Halter in Artforum

    PROGRAM: 
    Three Quarters (16mm to digital, 4:37, b&w, silent, 2015) / Rita Larson's Boy (16mm to digital, 10:53, b&w, 2012) / The Island of St. Matthews (16mm to digital, 70:00, color/b&w, 2013)  

    TRT 86 min.

    The work of Kevin Jerome Everson (b. 1965, Mansfield, OH) encompasses photography, printmaking, sculpture and film. Arguably one of today's most prolific and influential film artists, Everson has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, and the American Academy in Berlin Prize. His artwork has been the subject of retrospectives and solo exhibitions at the Whitney Museum of American Art, Tate Modern, Centre Pompidou, among many others. Everson is Professor of Art at the University of Virginia, Charlottesville. 

    Tuesday November 2, 2021

    Kym McDaniel: Exquisite Pain 

    PROGRAM: 
    Exit Strategy #1 (video, 7:21 min., 2017/2018) / Exit Strategy #2 (video, 4:55 min., 2017) / Exit Strategy #3 (video, 7:18 min., 2018) / Exit Strategy #4 (video, 8:14 min., 2018) / Exit Strategy #5 (video, 8:29 min., 2020) / coda (video, 3:03 min., 2021) / a story that doesn’t have to do with me (work in progress) 

    Kym McDaniel is a filmmaker, choreographer, performer, and educator. Her work braids autobiographical narratives in an attempt to reclaim her body and its memories. Her films and dances have screened and performed most recently at Slamdance, Antimatter, the Chicago Underground Film Festival, The Whitney Humanities Center, and EXCHANGE Choreography Festival, among others. She is an AmSAT Alexander Technique teacher and has an MFA in Film, Video, Animation & New Genres from the University of Wisconsin-Milwaukee. She is currently an Assistant Professor in the Cinema Department at Binghamton University.

  • Spring 2021

    Thursday April 15, 2021
    APPEARANCES AND DISAPPEARANCES: IN MEMORY OF JONATHAN SCHWARTZ
    Curator Irina Leimbacher in attendance

    PROGRAM: For Them Ending (16mm, 3 min., 2005) / Animals Moving to the Sound of Drums (16mm, 8 min., 2013) / Den of Tigers (16mm, 19 min., 2002) / Winter Beyond Winter (16mm, 11 min., 2016) / The Crack Up (16mm, 18 min., 2017) / A Leaf Is the Sea Is a Theater (16mm to digital, 17 min., 2017) / If the War Continues (16mm, 5 min., 2012) / New Year Sun (16mm, 3 min., 2010) TRT 84 min.

    “Taking as their subjects childhood, the transience of seasons, and our shared mortality, the 16mm films of Jonathan Schwartz devote themselves to the ephemerality of external worlds and a gestural responsiveness to internal states. This program of six poetic films made over 15 years—combining cutout collage, lyrical camerawork, and elliptical editing—merge wonder and disquiet, elation and sorrow, moving from intimacies of fatherhood and love to contemplations of nature and culture.” — Irina Leimbacher

    Jonathan Schwartz (1973-2018) was a prolific filmmaker whose work in 16mm regularly screened at venues such as New York Film Festival’s Views from the Avant-Garde and Projections, TIFF’s Wavelengths, International Film Festival Rotterdam, Ann Arbor, Media City, Images Festival, among others. He received his MFA at Massachusetts College of Art where he studied under Mark Lapore, Erika Beckman and Saul Levine. Over the years he taught at the School of Museum of Fine Arts and MassArt in Boston and at Bennington College in Vermont. From 2008 to 2018 he was Associate Professor at Keene State College in New Hampshire. He lived in Brattleboro, Vermont.

    Irina Leimbacher is an associate professor of film studies at Keene State College and former curator of a Flaherty Seminar. She is a regular contributor to Film Comment and currently working on a book on testimony in film. 

    Thursday April 27, 2021

    DREAMS OF WATERFALLS: THE FILMS OF PABLO MAZZOLO

    PROGRAM: The Quilpo Dreams Waterfalls (Super 8, 11 min., 2012) / Conjectures (Super 8, 4 min., 2013) / NN (16mm, 2:30 min., 2017) / Oaxaca Tohoku (35mm, 11:30 min., 2011) / Photooxidation (16mm, 13 min., 2013) / Fish Point (16mm, silent, 7 min., 2015) / Ceniza Verde (Green Ash) (35mm, silent, 10:30 min., 2019) TRT 60 min.

    “The films of Pablo Mazzolo use the documentary method to cross the edges between the real and the dream. His films explore the specificity of film as a medium, to construct formal paradigms, where the kinetic image and sound constitute the same perceptive and different unit in each work.”   — Ism, Ism, Ism: Experimental Cinema in Latin America

    Pablo Mazzolo (Buenos Aires, 1976) is based in Buenos Aires, Argentina, where he works as a filmmaker, mountaineer and teacher. He studied image and sound design at the University of Buenos Aires. His films have been widely exhibited in international festivals including NYFF's Views from the Avant-Garde, IFF Rotterdam, Viennale, Oberhausen Film Festival among others and have received awards at Ann Arbor Film Festival, Media City Film Festival and BAFICI. 

  • Fall 2020

    Tuesday November 10, 2020
    PEER BODE: A RETROSPECTIVE

    In a career spanning over 4 decades, video artist Peer Bode has created an extensive body of work that investigates electronic media events, active perception systems and culture. A graduate of Binghamton University’s Cinema Department, Bode studied with Ken Jacobs, Larry Gottheim, Nicholas Ray and Peter Kubelka, and later with Woody and Steina Vasulka, Paul Sharits, Tony Conrad and Hollis Frampton at SUNY Buffalo’s Media Study Program. Bode worked at the Experimental Television Center (ETC), which his lifelong mentor and friend Ralph Hocking established in Binghamton in 1970. At the ETC, Bode made his seminal early works while assisting and collaborating with the video artist and engineer David Jones, whose “Jones Frame Buffer” became a signature processor within Bode’s oeuvre. His work has been widely exhibited nationally and internationally at venues including MoMA, Anthology Film Archives, the Whitney Biennial, the European Media Art Festival (Germany), Impakt Film and Video Art Festival (the Netherlands), Viper Festival (Switzerland), among many others. A key figure of the Owego and Alfred schools of video arts, Bode headed the Video Arts Program at the School of Art and Design, NYSCC at Alfred University, where he co-founded the Institute for Electronic Arts (IEA).

    PROGRAM:

    Part 1
    Blue (4:50 min., 1975) / 100 Sec. Lumination (1:40 min., 1976) / Movements for Video, Dance and Music (11:44 min., 1976) / Camel With Window Memory (4:22 min., 1983) / Uber Organ (6 min., 2003) / Songs for Beijing (5:30 min., 2003)

    Part 2
    Wonderful Body Electric, Music, Writing, Data (4 min., 2013) / Harbin Infinite Write (15 min., 2016) / Turn You Change Direction (6:41 min., 2017) / Apparatus Part Two (6:06 min., 2020) / Apparatus Part One (7:40 min., 2020)

    TRT 74 min.

  • Fall 2019

    Wednesday September 25,  2019
    Orgone Energy Accumulator by Kenneth White
    Lecture Hall B89
    Screening: WR: Mysteries of the Organism (Dušan Makavejev, 1971, 85 min)

    Cinema Prof. Kenneth White presents the Orgone Energy Accumulator, a mysterious device invented by the radical Freudo-Marxist Wilhelm Reich. Reich first designed the Accumulator in 1940, envisioning it as a kind of fallout shelter against rising fascism. Following Reich’s blueprints, Prof. White and the artists Peggy Ahwesh, Keith Sanborn, and Soyoung Yoon, built a new Accumulator. Prof. White will speak about the Accumulator’s purpose, history, and legacy. Followed by a screening of WR: Mysteries of the Organism, the acclaimed film on the life and work of Reich by Dušan Makavejev (1932–2019).


    Tuesday October 15, 2019
    Phil Solomon
    Screening: The Passage of the Bride (16mm, 6:00 min.,1980) | The Snowman (16mm, 8:00 min., 1995) | Nocturne (16mm, 10:00 min., 1980) | Psalm II: “Walking Distance” (16mm, 23:00 min., 1999) | Remains to be Seen (Super-8 to 16mm, 17:00 min., 1989/94)
    TRT: 64 min.

    A celebration of artist, filmmaker, University of Colorado Boulder Professor and former BU Cinema Department student. “Phil Solomon was among the great avant-garde filmmakers of this era. Solomon’s films and videos create an interior universe that has rarely, if ever, been surpassed in any medium for its intimacy, evocation of personal sensibility, expressive dream-like sounds and images, and for its sublime—and terrifying—sense of ambiguity between the recognizable world and its dissolution. Perhaps the last significant innovator of special effects on celluloid, Solomon magically transforms pre-existing images and sounds into dense landscapes.” (Steve Anker)


    Thursday October 24, 2019
    Hey-Yeun Jang
    Screening: on/off (film, 2:30 min) | Flickering (video, 7 min.) | 4-frame movie (film, 2:30 min) | (k)now (t)here (film, 8:50 min) | orchard, 5 (film, 7:30 min) | picture day: flip side (video, 17min) | ';' (film in progress, 10min)
    TRT: 59 min.

    Hey-Yeun, Jang is a Korea-born, New York-based installation and film artist. She often uses sequences of 16mm film still images to examine fleeting moments and meaning of swallowed words: explore in-between. Her installations have been exhibited in museum internationally and her films have screened at prestigious venues and numerous festival in the US, Europe and Korea. She received awards from New York State Council for the Arts and the National Endowment for the Arts.


    Tuesday October 29, 2019
    Carolee Schneemann
    Introduced by Kenneth White
    A celebration of the artist, writer, and filmmaker Carolee Schneemann (1939–2019), with a special screening of  celebrated Schneemann’s films Fuses (1964–67) and Kitch’s Last Meal (1973–76).


    Friday November 8, 2019
    Marielle Nitoslawska
    Screening: Breaking the Frame (100 min., 2012)

    Marielle Nitoslawska’s Breaking the Frame is a feature–length profile of the radical New York artist Carolee Schneemann. A pioneer of performance art and avant-garde cinema, Schneemann has been breaking the frames of the art world for five decades by challenging the taboos leveled against the female body. Breaking the Frame is a kinetic, hyper-cinematic intervention, a critical meditation on the intimate correlations animating art and life.
     
    “A work about a formidable artist that is itself an important work of art.” – Mark McElhatten, Views from the Avant-Garde, New York Film Festival.

    Note: Another screening will be on Sunday November 10, 2019.


    Thursday November 14, 2019
    Ariana Gerstein
    Screening: Close the Lid, Gently (4:56 min.) | Performance for Perfection 1200 (13:36 min.) | Images of Flying and Falling (24:14 min.) | upCycles (7:03 min.) | In Glass Houses (8:22 min.) | Skin in the Game (5:02 min.) | Traces of Elikem (6:59 min.)
    TRT: 68 min.

    Using complex hand-wrought editing methods and extensive optical printing Gerstein’s work dazzles in its visual complexity and rhythmic timing. Gerstein’s recent work innovatively integrates desktop image scanners into her analog filmmaking process, capturing minute personal gestures in a sort of slow-motion real-time animation process, creating a visuality both intimate and abstract. – Steve Polta, SF Cinematheque
     
    Her films have been screened and awarded prizes at festivals worldwide and awarded grants by New York Council for the Arts, N Y Foundation for the Arts, National Endowment for the Arts, and a Rockefeller Media Arts Fellowship.


    Tuesday November 19, 2019
    Malena Szlam
    Screening: Chronogram of Inexistent Time (35mm to digital, 6:00 min., 2008) | Rhythm Trail (Super 8mm, 10:00 min., 2010 – 2011) | Anagrams of Light (Super 8mm, 3:00 min., 2011) | Beneath Your Skin of Deep Hollow (Super 8mm to 16mm, 3:40 min., 2010) | Lunar Almanac (16mm, 4:00 min., 2013) | Morfología de un sueño (16mm, 5:30 min., 2015) | ALTIPLANO (35mm, 15:30 min., 2018)
    TRT: 48 min.
     
    “Malena Szlam’s films are meticulously assembled using a menagerie of techniques to physically alter the film elements resulting in dreamlike, collaged, flickering images leaving viewers with a sense of wonderment, displacement and an expanded sense of time. Szlam’s careful construction of her works serves to ground and guide viewers on a serene journey through these brief and powerful cinematic experiences.” (Los Angeles Film Forum). Chilean filmmaker Malena Szlam is a member of Montréal’s Double Negative Collective.

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